1 00:00:00,960 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,360 Speaker 1: Welcome to Hollywood Land, the Rap Party. What is going on, 6 00:00:29,440 --> 00:00:31,880 Speaker 1: my good people of Hollywood Land. We are back at 7 00:00:31,880 --> 00:00:34,479 Speaker 1: it once again, back in the saddle, back in this 8 00:00:34,560 --> 00:00:37,280 Speaker 1: thing we call the Rap Party. This is the show 9 00:00:37,400 --> 00:00:39,479 Speaker 1: that gets you from one full episode of hollywood Land 10 00:00:39,600 --> 00:00:42,280 Speaker 1: to the next. The place for obsessives just like you, 11 00:00:42,640 --> 00:00:45,320 Speaker 1: the movie geeks, the true crime freaks, the ones who 12 00:00:45,360 --> 00:00:48,240 Speaker 1: liked their movie history with a side of grit and grime. 13 00:00:48,720 --> 00:00:51,560 Speaker 1: My name is Zeth Lundy, writer at Double Elvis, showrunner 14 00:00:51,560 --> 00:00:54,160 Speaker 1: for Hollywood Land. But on this bonus episode we are 15 00:00:54,200 --> 00:00:58,040 Speaker 1: talking about this week's full episode subject Humphrey Bogart. We 16 00:00:58,080 --> 00:01:01,640 Speaker 1: are previewing next week's episode on Jodie Foster. We're talking 17 00:01:01,720 --> 00:01:04,800 Speaker 1: movie and music recommendations, and of course we're gonna check 18 00:01:04,800 --> 00:01:08,040 Speaker 1: out your texts, dms and emails. So come on, everybody, 19 00:01:08,160 --> 00:01:27,279 Speaker 1: let's party. When movies were born, one of the first 20 00:01:27,360 --> 00:01:31,680 Speaker 1: instincts that filmmakers had after that initial shock of watching 21 00:01:31,800 --> 00:01:35,640 Speaker 1: life replay itself before your very eyes was to take 22 00:01:35,680 --> 00:01:38,800 Speaker 1: audiences somewhere they couldn't go on their own, or somewhere 23 00:01:38,800 --> 00:01:42,319 Speaker 1: that didn't exist in reality, Just as authors like Lewis 24 00:01:42,360 --> 00:01:44,760 Speaker 1: Carroll and Jules Vern have been doing in the pages 25 00:01:44,800 --> 00:01:48,000 Speaker 1: of their books for years. Going to the movies meant 26 00:01:48,080 --> 00:01:50,840 Speaker 1: you got to live vicariously through the images that were 27 00:01:50,880 --> 00:01:53,080 Speaker 1: being projected on the big screen in front of you, 28 00:01:53,600 --> 00:01:56,120 Speaker 1: and one of the first narrative films ever made, one 29 00:01:56,120 --> 00:01:59,160 Speaker 1: of the most enduring films of early cinema, did just that. 30 00:02:00,040 --> 00:02:02,760 Speaker 1: In nineteen oh two, about ten years or so after 31 00:02:02,840 --> 00:02:07,120 Speaker 1: the invention of the motion picture camera, French director George 32 00:02:07,120 --> 00:02:10,320 Speaker 1: Melius made a Trip to the Moon, which, true to 33 00:02:10,360 --> 00:02:14,600 Speaker 1: its title, took audiences to space. The promise of cinema 34 00:02:14,840 --> 00:02:17,440 Speaker 1: of the movie going experience was a promise that no 35 00:02:17,520 --> 00:02:20,880 Speaker 1: other medium or art form could match. Not books, not music, 36 00:02:20,919 --> 00:02:24,360 Speaker 1: not paintings. Film was an immersive experience unlike any other, 37 00:02:24,800 --> 00:02:28,480 Speaker 1: and once sound was introduced, it was a multisensory experience 38 00:02:28,560 --> 00:02:30,800 Speaker 1: to boot. But just one year after a Trip to 39 00:02:30,800 --> 00:02:34,160 Speaker 1: the Moon, in nineteen oh three, the Edison Manufacturing Company 40 00:02:34,240 --> 00:02:37,480 Speaker 1: released a narrative film that offered audiences something even more 41 00:02:37,480 --> 00:02:41,640 Speaker 1: compelling than a fantastical voyage to another world. The Great 42 00:02:41,680 --> 00:02:44,839 Speaker 1: Train Robbery, the film directed by Edwin s Porter, which 43 00:02:44,960 --> 00:02:46,880 Speaker 1: told the story of a bunch of outlaws on the 44 00:02:46,960 --> 00:02:51,279 Speaker 1: lamb after holding up a steam engine, traded wonder for darkness. 45 00:02:51,600 --> 00:02:55,480 Speaker 1: It traded illusion for realism, and by doing so, it 46 00:02:55,560 --> 00:02:58,400 Speaker 1: gave the people what they really wanted. They didn't want 47 00:02:58,440 --> 00:03:00,880 Speaker 1: to go to the moon. They wanted a loaded gun 48 00:03:00,919 --> 00:03:03,960 Speaker 1: pointed directly at their face. They wanted to watch bad 49 00:03:04,000 --> 00:03:08,040 Speaker 1: guys doing bad things. That was the case then, and 50 00:03:08,120 --> 00:03:13,160 Speaker 1: it's the case now. Crime, criminals, corruption, redemption. For one 51 00:03:13,200 --> 00:03:16,800 Speaker 1: hundred years, cinema has returned again and again to the 52 00:03:16,840 --> 00:03:20,480 Speaker 1: story of the outlaw, the hit man, the detective, the Mark, 53 00:03:20,760 --> 00:03:23,880 Speaker 1: the Kahn, the fixer, the doomed romantic with a gun 54 00:03:23,960 --> 00:03:27,160 Speaker 1: under his coat and a code up his sleeve. These figures, 55 00:03:27,280 --> 00:03:31,839 Speaker 1: these characters, are the darkness that give meaning to the light. Now, 56 00:03:31,840 --> 00:03:34,160 Speaker 1: before you call my bluff here and say hang on, guy, 57 00:03:34,480 --> 00:03:36,400 Speaker 1: go and look at a list of the highest grossing 58 00:03:36,400 --> 00:03:39,080 Speaker 1: films of all time, even if that list is adjusted 59 00:03:39,080 --> 00:03:42,000 Speaker 1: for inflation. And what do you see? You see fantasy, 60 00:03:42,280 --> 00:03:45,560 Speaker 1: You see Avatar and Avengers and Star Wars and Spider 61 00:03:45,640 --> 00:03:48,600 Speaker 1: Man and Jurassic Park. You see the descendants of a 62 00:03:48,640 --> 00:03:51,520 Speaker 1: Trip to the Moon, not of the Great Train Robbery. 63 00:03:52,080 --> 00:03:54,720 Speaker 1: And this is true. But I'd argue that when you 64 00:03:54,760 --> 00:03:57,000 Speaker 1: look at the last one hundred years of American history, 65 00:03:57,360 --> 00:03:59,880 Speaker 1: we have been defined not by sci fi epics but 66 00:04:00,080 --> 00:04:04,120 Speaker 1: by crime films. In the nineteen thirties, as the United 67 00:04:04,160 --> 00:04:07,119 Speaker 1: States sank into its Great Depression, and as real life 68 00:04:07,160 --> 00:04:10,840 Speaker 1: gangsters like John Dillinger, Al Capone, and Al Brady grabbed 69 00:04:10,920 --> 00:04:14,280 Speaker 1: power by any means necessary and thus grabbed the headlines 70 00:04:14,280 --> 00:04:17,520 Speaker 1: of newspapers from coast to coast, movies like Little Caesar, 71 00:04:17,839 --> 00:04:22,000 Speaker 1: The Public Enemy and Scarface reflected the public's obsession with bad, 72 00:04:22,080 --> 00:04:25,560 Speaker 1: bad men. In the nineteen forties and fifties after the War, 73 00:04:25,760 --> 00:04:28,599 Speaker 1: when American soldiers came home haunted and the world started 74 00:04:28,640 --> 00:04:31,839 Speaker 1: to look a little different, cynicism and moral fog was 75 00:04:31,880 --> 00:04:35,360 Speaker 1: creeping in, corruption was en route. The cinema gave us 76 00:04:35,440 --> 00:04:39,480 Speaker 1: film noir, Double Indemnity, The Big Sleep, The Asphalt Jungle, 77 00:04:39,680 --> 00:04:42,960 Speaker 1: Touch of Evil, and by the time New Hollywood started 78 00:04:43,000 --> 00:04:45,280 Speaker 1: to take over in the late sixties and early seventies, 79 00:04:45,680 --> 00:04:48,839 Speaker 1: Crime for Real and crime on screen had become mythic. 80 00:04:49,200 --> 00:04:52,880 Speaker 1: The anti hero was King Bonnie and Clyde, The Godfather, 81 00:04:53,040 --> 00:04:57,320 Speaker 1: Taxi Driver, Surproco, Dog Day Afternoon, the French Connection. These 82 00:04:57,400 --> 00:05:01,640 Speaker 1: are the defining movies of each moment, not disaster epics 83 00:05:01,680 --> 00:05:04,760 Speaker 1: of the time like The Towering Inferno or The Poseidon 84 00:05:04,800 --> 00:05:08,120 Speaker 1: Adventure or Airport. And the reason that we're all here, 85 00:05:08,160 --> 00:05:11,800 Speaker 1: you me obsessed with the intersection of Hollywood and true crime, 86 00:05:11,880 --> 00:05:14,160 Speaker 1: is because of what happened in the nineteen eighties and 87 00:05:14,240 --> 00:05:18,599 Speaker 1: nineteen nineties when crime became cool. We the collective, we 88 00:05:19,080 --> 00:05:22,800 Speaker 1: the royal we you know, the editorial We went from 89 00:05:22,839 --> 00:05:25,680 Speaker 1: being fascinated with it to being in on it. This is, 90 00:05:25,760 --> 00:05:27,920 Speaker 1: you know, the era of Michael Mann's Thief in de 91 00:05:28,040 --> 00:05:31,520 Speaker 1: Palman's Scarface, all the way up to Scorsese's Good Fellows 92 00:05:31,560 --> 00:05:34,360 Speaker 1: and Tarantino's Reservoir Dogs. But these are just some of 93 00:05:34,400 --> 00:05:37,840 Speaker 1: the iconic tempoles here. Cinema at this time was saturated 94 00:05:38,080 --> 00:05:41,200 Speaker 1: with crime and grime, blood Simple, Once upon a Time 95 00:05:41,200 --> 00:05:44,000 Speaker 1: in America, To Live and Die in La See of Love, 96 00:05:44,240 --> 00:05:48,160 Speaker 1: The Untouchables, Forty eight Hours, Donny Brasco, Natural Born Killers, 97 00:05:48,360 --> 00:05:52,159 Speaker 1: Shallow Grave, The Limey, True Romance, Lock stock and two 98 00:05:52,160 --> 00:05:56,040 Speaker 1: smoking barrels. The list goes on and on, and now 99 00:05:56,600 --> 00:06:00,920 Speaker 1: these days, contemporary times, crime is the backbone of press storytelling, 100 00:06:00,960 --> 00:06:03,480 Speaker 1: I think, because we go to these movies, in these 101 00:06:03,480 --> 00:06:07,400 Speaker 1: shows not just for entertainment, but for meaning. The Sopranos, 102 00:06:07,560 --> 00:06:11,600 Speaker 1: the wire breaking, bad true Detective, Black Rabbit, the lowdown 103 00:06:12,160 --> 00:06:16,600 Speaker 1: Crime reveals character faster than anything else, stories about temptation, 104 00:06:16,920 --> 00:06:20,000 Speaker 1: about wrongdoing, the corruption of a code, the corruption of 105 00:06:20,000 --> 00:06:23,760 Speaker 1: a soul in that long, messy road back to redemption. 106 00:06:25,040 --> 00:06:27,200 Speaker 1: Nowhere is this more obvious than in the films of 107 00:06:27,240 --> 00:06:30,200 Speaker 1: Humphrey Bogart. And if you've heard our episode on Bogie, 108 00:06:30,279 --> 00:06:32,919 Speaker 1: then you know how one of his films in particular, 109 00:06:33,080 --> 00:06:36,080 Speaker 1: was in large part inspired by a very real group 110 00:06:36,120 --> 00:06:38,800 Speaker 1: of contract killers who were operating in the shadows of 111 00:06:38,839 --> 00:06:42,760 Speaker 1: America at the time of that film's release. And out 112 00:06:42,760 --> 00:06:45,320 Speaker 1: there in the same cities where his movie played to 113 00:06:45,400 --> 00:06:48,520 Speaker 1: packed houses, real men with real guns were punching the 114 00:06:48,560 --> 00:06:53,080 Speaker 1: clock for real organizations like the Syndicate. And somewhere between 115 00:06:53,120 --> 00:06:55,800 Speaker 1: the story on the screen and the story in the streets, 116 00:06:56,279 --> 00:06:59,200 Speaker 1: somewhere in the fog and the gun smoke and the 117 00:06:59,240 --> 00:07:01,839 Speaker 1: glow of the cigarets at lighting up Humphrey Bogart's face 118 00:07:02,640 --> 00:07:07,640 Speaker 1: is the real American story. Okay, speaking of Hollywood's obsession 119 00:07:07,680 --> 00:07:10,680 Speaker 1: with crime. Next week, we have got our episode on 120 00:07:10,800 --> 00:07:13,760 Speaker 1: Jodi Foster for you, which is all about the infamous 121 00:07:13,880 --> 00:07:18,160 Speaker 1: John Hinckley Junior, his obsession with Jodi Foster, his obsession 122 00:07:18,200 --> 00:07:21,880 Speaker 1: with the film Taxi Driver, and the attempted assassination of 123 00:07:21,920 --> 00:07:24,440 Speaker 1: President Ronald Reagan. So, if you're barking up the same 124 00:07:24,480 --> 00:07:26,320 Speaker 1: tree as the rest of us, as I know you are, 125 00:07:26,920 --> 00:07:29,440 Speaker 1: this is another fastball, right down the middle episode that 126 00:07:29,480 --> 00:07:32,440 Speaker 1: you'll love. And if you love Taxi Driver in particular, 127 00:07:32,960 --> 00:07:35,520 Speaker 1: I think you really I hope you'll really dig the 128 00:07:35,560 --> 00:07:38,200 Speaker 1: homage that we created to that film in the way 129 00:07:38,200 --> 00:07:42,000 Speaker 1: that this episode was written and sound designed. Now, Jody 130 00:07:42,080 --> 00:07:45,040 Speaker 1: Foster is coming to you next week on Monday, but 131 00:07:45,720 --> 00:07:47,600 Speaker 1: we still have so much more to talk about before then, 132 00:07:47,760 --> 00:07:51,520 Speaker 1: including your messages and texts and dms. So let's dive 133 00:07:51,640 --> 00:08:08,920 Speaker 1: right in, shall we. Right after this quick break? Oh right, 134 00:08:09,040 --> 00:08:12,120 Speaker 1: we are back everybody here in my neck of the woods. 135 00:08:12,480 --> 00:08:16,000 Speaker 1: The autumnal vibes are really hitting hard. We've had a 136 00:08:16,080 --> 00:08:19,520 Speaker 1: lovely fall thus far. The leaves just exploded with color 137 00:08:19,560 --> 00:08:21,280 Speaker 1: a while back, and then the winds and the rain 138 00:08:21,360 --> 00:08:23,360 Speaker 1: came through and knocked most of them off the trees. 139 00:08:23,840 --> 00:08:26,360 Speaker 1: And so now the streets and the sidewalks are paved 140 00:08:26,360 --> 00:08:28,760 Speaker 1: with red and orange and gold. And as I've said 141 00:08:28,800 --> 00:08:32,400 Speaker 1: many times before, the things you listen to, that you watch, 142 00:08:32,440 --> 00:08:35,320 Speaker 1: and that you read really add to this experience this 143 00:08:35,400 --> 00:08:37,200 Speaker 1: time of year. So I asked all of you for 144 00:08:37,360 --> 00:08:40,680 Speaker 1: your recommendations for what you're listening to, what you're watching, 145 00:08:40,720 --> 00:08:44,360 Speaker 1: what you're reading during the fall. And with that in mind, 146 00:08:44,480 --> 00:08:48,840 Speaker 1: I got this text from the seven six Zeth. Perfect 147 00:08:48,840 --> 00:08:50,880 Speaker 1: book for this time of year is called House of 148 00:08:50,960 --> 00:08:56,040 Speaker 1: Leaves by Mark Z. DANIELISKI get the good copy with 149 00:08:56,040 --> 00:08:58,760 Speaker 1: all the notes and the Whale Stowe letters as well. 150 00:08:59,080 --> 00:09:01,720 Speaker 1: It's a seriously read if you're not used to authors 151 00:09:01,720 --> 00:09:04,840 Speaker 1: thinking outside the pages. One of my favorite authors I've 152 00:09:04,880 --> 00:09:07,920 Speaker 1: been thankfully aware of in my life. Also, I'd like 153 00:09:08,000 --> 00:09:11,720 Speaker 1: to make a question for both Disgraceland and Hollywoodland, that is, 154 00:09:11,800 --> 00:09:14,080 Speaker 1: if you could do a Muppet version of any movie 155 00:09:14,240 --> 00:09:16,880 Speaker 1: or song ever made, what would it be? Movie for 156 00:09:16,960 --> 00:09:18,800 Speaker 1: me would have to be seven. I know, I know 157 00:09:18,840 --> 00:09:21,360 Speaker 1: it's dark, but the Muppet generation is old now and 158 00:09:21,400 --> 00:09:24,000 Speaker 1: seeing Gonzo and Kermit or Fozzy and Ralph as the 159 00:09:24,080 --> 00:09:27,000 Speaker 1: leads will be entertaining, just like that crossover episode of 160 00:09:27,000 --> 00:09:29,840 Speaker 1: Scooby Doo and the Supernatural. You know, hope your Halloweens 161 00:09:29,880 --> 00:09:32,960 Speaker 1: were dark and spooky. Have a good one, yes, seven 162 00:09:33,040 --> 00:09:36,000 Speaker 1: oh six. So much to unpack here. First up, House 163 00:09:36,080 --> 00:09:38,600 Speaker 1: of Leaves. I do not know about this book, but 164 00:09:38,640 --> 00:09:41,640 Speaker 1: it's going on my to read list for sure. I'm 165 00:09:41,679 --> 00:09:44,000 Speaker 1: super intrigued. This definitely seems to fall in line with 166 00:09:44,000 --> 00:09:46,160 Speaker 1: the stuff we were talking about earlier. You know, authors 167 00:09:46,160 --> 00:09:48,880 Speaker 1: like David Mitchell getting getting weird with the format and 168 00:09:48,880 --> 00:09:50,920 Speaker 1: structure and language and all that. So I thank you 169 00:09:50,960 --> 00:09:53,520 Speaker 1: for that recommendation. Now, what I'm really here to talk 170 00:09:53,559 --> 00:09:57,360 Speaker 1: about is your Muppets question, because number one, great fucking question, 171 00:09:57,400 --> 00:10:01,240 Speaker 1: and number two the Muppets rule. Favorite Muppet movie. I 172 00:10:01,280 --> 00:10:03,640 Speaker 1: know the Muppet Movie is probably the right answer for 173 00:10:03,720 --> 00:10:07,360 Speaker 1: the best Muppet movie. I think that's a perfect movie, honestly, 174 00:10:07,559 --> 00:10:10,720 Speaker 1: But for me, my favorite has always been The Great 175 00:10:10,800 --> 00:10:13,320 Speaker 1: Muppet Caper. I think I saw it at such a 176 00:10:13,360 --> 00:10:16,719 Speaker 1: young age that it transported me to another world, a 177 00:10:16,720 --> 00:10:19,440 Speaker 1: world that was unfamiliar to me at the time. And again, 178 00:10:19,480 --> 00:10:21,320 Speaker 1: it's like I was what I was talking about earlier. 179 00:10:21,360 --> 00:10:24,000 Speaker 1: It's got crime and it's got grime and the Muppets. 180 00:10:24,040 --> 00:10:27,640 Speaker 1: I am so in all right, Okay, nobody asked me 181 00:10:27,640 --> 00:10:30,280 Speaker 1: about my favorite Muppet movie. I just I had to 182 00:10:30,320 --> 00:10:32,720 Speaker 1: go there. So we're talking if you could make a 183 00:10:32,800 --> 00:10:36,120 Speaker 1: Muppet version of any movie, what would it be? I 184 00:10:36,160 --> 00:10:38,920 Speaker 1: love your take on seven and yeah, I like where 185 00:10:38,960 --> 00:10:40,360 Speaker 1: you're going with this. You know, like Kerman would probably 186 00:10:40,360 --> 00:10:43,360 Speaker 1: be Brian Pitt's character. Right, he's green in more ways 187 00:10:43,400 --> 00:10:46,120 Speaker 1: than one, you know what I mean. And then I 188 00:10:46,120 --> 00:10:48,560 Speaker 1: don't know, you need a grizzled like cynical muppet to 189 00:10:48,600 --> 00:10:51,160 Speaker 1: play Morgan Freeman's character, So maybe that would be like 190 00:10:51,640 --> 00:10:54,839 Speaker 1: Sam the Eagle, And would Gonzo be John Doe. I 191 00:10:54,840 --> 00:10:58,000 Speaker 1: don't know. The possibilities are endless for me. I think 192 00:10:58,120 --> 00:11:02,480 Speaker 1: something like a Ralah King like eighties era adventure movie 193 00:11:02,520 --> 00:11:06,080 Speaker 1: would be awesome, like Romancing the Stone. MS. Piggy could 194 00:11:06,080 --> 00:11:09,760 Speaker 1: be Kathleen Turner's character, Kermit would be Michael Douglas. Maybe 195 00:11:09,800 --> 00:11:13,760 Speaker 1: Gonzo is Danny DeVito, and then uh, Fozzy could be 196 00:11:13,800 --> 00:11:16,600 Speaker 1: Wan the guy in the village who's obsessed with Joan Wilder. 197 00:11:16,760 --> 00:11:19,559 Speaker 1: You Joan Wilder. Uh, and then uh, you know animal 198 00:11:19,640 --> 00:11:22,920 Speaker 1: or crazy Harry is Zolo the villain who's after them? Man. 199 00:11:23,080 --> 00:11:24,880 Speaker 1: So much to think about here, And you know, there's 200 00:11:24,920 --> 00:11:28,160 Speaker 1: this other variation on this question, which is what movie 201 00:11:28,200 --> 00:11:30,280 Speaker 1: would you want to remake with an all muppet cast 202 00:11:30,480 --> 00:11:33,439 Speaker 1: except the lead role at the center is a human actor. 203 00:11:34,040 --> 00:11:36,920 Speaker 1: What movie is that? And who plays? What? Inquiring minds 204 00:11:36,960 --> 00:11:38,839 Speaker 1: want to know? Me and the seven oh six here 205 00:11:38,880 --> 00:11:41,040 Speaker 1: we want to know Give me a call or a 206 00:11:41,080 --> 00:11:43,720 Speaker 1: text at six one, seven nine oh six, six six 207 00:11:43,840 --> 00:11:47,360 Speaker 1: three eight, Give me your muppet picks, your ideas for 208 00:11:48,120 --> 00:11:52,000 Speaker 1: movies remade with muppets. Also, one final thing here seven 209 00:11:52,040 --> 00:11:53,599 Speaker 1: oh six that I feel like is relevant to what 210 00:11:53,679 --> 00:11:56,319 Speaker 1: we're talking about. Stuff to read this time of year. 211 00:11:56,840 --> 00:11:59,080 Speaker 1: You mentioned the Scooby Doo Gang, and this popped in 212 00:11:59,120 --> 00:12:02,480 Speaker 1: my head. You guys, there's this incredible novel by Edgar 213 00:12:02,679 --> 00:12:07,120 Speaker 1: Cantaro called Meddling Kids, which basically imagines a gain of 214 00:12:07,720 --> 00:12:09,880 Speaker 1: former child detectives very much in the vein of the 215 00:12:09,920 --> 00:12:12,960 Speaker 1: Scooby Doo Gang, who reunite as adults to solve this 216 00:12:13,080 --> 00:12:15,720 Speaker 1: case that seriously messed them up as kids. And it's 217 00:12:15,760 --> 00:12:19,559 Speaker 1: so inventive and such a great, such a great novel, 218 00:12:19,840 --> 00:12:22,480 Speaker 1: and also just this great example of taking an idea 219 00:12:22,640 --> 00:12:25,600 Speaker 1: concept that someone else had and sort of building something 220 00:12:25,640 --> 00:12:28,800 Speaker 1: new on his foundation. Medling kids. Check that out, and 221 00:12:28,840 --> 00:12:32,480 Speaker 1: I'm going to check out House Leaves. Thank you seven six. Okay. 222 00:12:32,559 --> 00:12:34,400 Speaker 1: Last week Jen and the three one six wrote in 223 00:12:34,440 --> 00:12:38,480 Speaker 1: about the tall Grass Film Festival, and I wanted more info, 224 00:12:38,520 --> 00:12:40,000 Speaker 1: so I asked for it, and what do you know, 225 00:12:40,080 --> 00:12:43,320 Speaker 1: I got it, Jen writes in Hey Zeth, it's Jen 226 00:12:43,360 --> 00:12:45,880 Speaker 1: in the three one six again. Tall Grass is an 227 00:12:45,960 --> 00:12:48,840 Speaker 1: indie film fest in Wichita, and this year was the 228 00:12:48,840 --> 00:12:50,840 Speaker 1: first time I checked it out. Definitely will not be 229 00:12:50,960 --> 00:12:54,280 Speaker 1: my last. This is a small fest compared to Sundan's 230 00:12:54,360 --> 00:12:57,160 Speaker 1: Venice Toronto, et cetera, but still a solid three days 231 00:12:57,160 --> 00:13:01,400 Speaker 1: of programming. I saw some hilarious stuff like Renny and Taffy, 232 00:13:01,480 --> 00:13:04,439 Speaker 1: a divine instrument against the demonic forces of evil. Wow, 233 00:13:04,520 --> 00:13:08,480 Speaker 1: great title documentaries like twenty five Cats from Qatar and 234 00:13:08,520 --> 00:13:12,520 Speaker 1: God Is My Witness. And a deeply moving, slash unsettling 235 00:13:12,559 --> 00:13:16,600 Speaker 1: feature called Our Hero Balthazar about team boys and toxic 236 00:13:16,640 --> 00:13:19,960 Speaker 1: masculinity and social media culture. I'm still thinking a lot 237 00:13:20,000 --> 00:13:23,880 Speaker 1: about that one, and this weekend is more film Wichita 238 00:13:23,920 --> 00:13:29,199 Speaker 1: also has the Alternative Film Fests that's alternative but split 239 00:13:29,200 --> 00:13:33,280 Speaker 1: into two words for those who can't read the textas 240 00:13:33,360 --> 00:13:36,280 Speaker 1: I'm reading it here. Sorry. Wichita also has the alter 241 00:13:36,480 --> 00:13:40,800 Speaker 1: Native Film Fest, organized by and featuring films by indigenous peoples. 242 00:13:41,120 --> 00:13:43,360 Speaker 1: Smaller than Tall Grass, but still a lot of fun. 243 00:13:43,640 --> 00:13:46,200 Speaker 1: So maybe there's smaller film fests in your area. Who 244 00:13:46,200 --> 00:13:48,360 Speaker 1: to thunk a city of three hundred thousand would have 245 00:13:48,400 --> 00:13:50,760 Speaker 1: more than one film fest. Have a good weekend. Hope 246 00:13:50,800 --> 00:13:54,320 Speaker 1: you're watching something cool right on, Jen. I appreciate you 247 00:13:54,360 --> 00:13:57,760 Speaker 1: diving into tall Grass and also the Alternative Filmfest for 248 00:13:57,800 --> 00:14:01,600 Speaker 1: me a great title. I love hearing this because I 249 00:14:01,640 --> 00:14:03,679 Speaker 1: do not know about any of the films that you 250 00:14:03,720 --> 00:14:05,720 Speaker 1: mentioned on your list. That's just not the best. Is it? 251 00:14:05,760 --> 00:14:09,040 Speaker 1: Not going into a movie you don't know anything about. 252 00:14:09,600 --> 00:14:12,160 Speaker 1: We've gone so far than the wrong direction. I think 253 00:14:12,160 --> 00:14:14,000 Speaker 1: in the culture here where you need to know everything 254 00:14:14,000 --> 00:14:16,480 Speaker 1: about everything all the time, you got to know what 255 00:14:16,600 --> 00:14:20,520 Speaker 1: the movie's about and down to the last detail. In 256 00:14:20,520 --> 00:14:23,600 Speaker 1: my eyes, you know, movie trailers have become a large problem. 257 00:14:23,880 --> 00:14:26,000 Speaker 1: I've stopped watching a lot of trailers for new stuff 258 00:14:26,040 --> 00:14:28,480 Speaker 1: because so much of what is in there gives away 259 00:14:28,960 --> 00:14:32,080 Speaker 1: too much, Like you know, I think back to things 260 00:14:32,120 --> 00:14:35,280 Speaker 1: like I knew all about the fact that Linda Blair's 261 00:14:35,360 --> 00:14:38,600 Speaker 1: head spins in The Exorcists before I ever actually saw 262 00:14:38,680 --> 00:14:41,480 Speaker 1: The Exorcist, and I'm sure the experience would have been 263 00:14:41,520 --> 00:14:44,040 Speaker 1: even better had I not. You know, I'm imagine seeing 264 00:14:44,040 --> 00:14:45,680 Speaker 1: that not knowing it was going to happen. I'm sure 265 00:14:45,680 --> 00:14:48,280 Speaker 1: a bunch of you have. Anyway, I'm off track here, 266 00:14:48,360 --> 00:14:52,160 Speaker 1: as as I usually am. Jen, there are some smaller 267 00:14:52,280 --> 00:14:55,920 Speaker 1: film festivals here in Maine, my neck of the woods. 268 00:14:56,400 --> 00:14:58,520 Speaker 1: One of the biggest in the state is called the 269 00:14:58,520 --> 00:15:03,120 Speaker 1: Main Film Festival, which happened in this little city called Waterville, 270 00:15:03,560 --> 00:15:07,520 Speaker 1: city of like under twenty thousand people, at a movie 271 00:15:07,520 --> 00:15:10,760 Speaker 1: house called the Main Film Center. It's one movie theater, 272 00:15:10,920 --> 00:15:15,200 Speaker 1: independent theater, has a number of screens. They moved it 273 00:15:15,240 --> 00:15:18,520 Speaker 1: and renovated it recently with a generous donation by the 274 00:15:18,560 --> 00:15:21,840 Speaker 1: actor Ed Harris, who has some kind of connection to Maine. 275 00:15:21,880 --> 00:15:24,479 Speaker 1: I think maybe he has I don't know, a summerhouse 276 00:15:24,520 --> 00:15:27,760 Speaker 1: here or vacations here or whatever, but you know, he 277 00:15:27,800 --> 00:15:32,000 Speaker 1: made this donation. They have this beautiful renovated venue. Now. 278 00:15:32,280 --> 00:15:35,720 Speaker 1: They named their box office in Ed Harris's honor. So 279 00:15:35,760 --> 00:15:37,280 Speaker 1: when you go in there, you see his name on 280 00:15:37,360 --> 00:15:41,480 Speaker 1: the wall. And in general, their programming is like a 281 00:15:41,520 --> 00:15:45,600 Speaker 1: combination of first run stuff, art house and indie stuff 282 00:15:45,680 --> 00:15:47,760 Speaker 1: and then repertory stuff. You know. So I've seen everything 283 00:15:47,760 --> 00:15:51,400 Speaker 1: from John Carpenter's the Thing there. I saw the recent 284 00:15:52,120 --> 00:15:55,280 Speaker 1: led Zeppelin documentary there. The thing about where I live 285 00:15:55,360 --> 00:15:57,280 Speaker 1: in particular, is that if you want to go see 286 00:15:57,800 --> 00:16:01,520 Speaker 1: a new indie film or a foreign film or a 287 00:16:01,600 --> 00:16:04,480 Speaker 1: doc and definitely if you want to go see if 288 00:16:04,480 --> 00:16:06,880 Speaker 1: it's an old film that they're replaying in the theaters, 289 00:16:07,240 --> 00:16:09,840 Speaker 1: you can't. You can't see that anywhere where I live. 290 00:16:09,960 --> 00:16:12,400 Speaker 1: You've got to drive. Unless you live in southern Maine 291 00:16:12,440 --> 00:16:14,840 Speaker 1: and you're near Portland. You got to drive to Waterville, 292 00:16:14,960 --> 00:16:17,040 Speaker 1: And for me, Waterville is like an hour drive, so 293 00:16:17,120 --> 00:16:19,840 Speaker 1: it's not something that I'm always able to do. But yeah, anyways, 294 00:16:19,880 --> 00:16:22,360 Speaker 1: they host the main Film festival every year. Last year 295 00:16:22,360 --> 00:16:24,960 Speaker 1: they actually had Clive Owen as a guest. He received 296 00:16:25,000 --> 00:16:28,160 Speaker 1: an honorary award, which is wild to think that Clive 297 00:16:28,160 --> 00:16:30,320 Speaker 1: Owen was just like hanging out on the streets of 298 00:16:31,240 --> 00:16:34,720 Speaker 1: Waterville Main with like seventeen thousand people you don't see. 299 00:16:35,120 --> 00:16:38,600 Speaker 1: You don't see that every day do ya do? Yeah? Now? Okay? 300 00:16:38,640 --> 00:16:41,120 Speaker 1: Jen in the three one six, thank you again for 301 00:16:41,280 --> 00:16:44,800 Speaker 1: that message. Last week I asked you all for underrated 302 00:16:44,880 --> 00:16:49,680 Speaker 1: Mafia movies and Chris emailed in very short email underrated 303 00:16:49,720 --> 00:16:54,680 Speaker 1: Mafia movie ghost Dog rock on Gents. Yes, indeed, Chris, 304 00:16:54,920 --> 00:16:57,720 Speaker 1: Ghost Dog The Way of the Samurai, the nineteen ninety 305 00:16:57,760 --> 00:17:00,880 Speaker 1: nine Jim Jarmish film starring Forrest her as a hit 306 00:17:01,000 --> 00:17:04,640 Speaker 1: man for the Mafia, featuring a score by none other 307 00:17:04,680 --> 00:17:07,240 Speaker 1: than the Rizza from Wu Tang Clan, which I believe 308 00:17:07,280 --> 00:17:11,280 Speaker 1: this was Rizza's first foray into film scores. I still 309 00:17:11,320 --> 00:17:15,400 Speaker 1: remember when this came out, Chris, I said, nineteen ninety nine. 310 00:17:15,520 --> 00:17:17,080 Speaker 1: I think that was the year. It was in festivals 311 00:17:17,119 --> 00:17:19,840 Speaker 1: an early release. It didn't get a wide release in 312 00:17:19,920 --> 00:17:22,399 Speaker 1: theaters across the country until the year two thousand. So 313 00:17:22,600 --> 00:17:25,479 Speaker 1: I had just graduated from college the year before. I 314 00:17:25,520 --> 00:17:27,919 Speaker 1: was a huge Jarmish fan, have been since high school. 315 00:17:27,960 --> 00:17:31,200 Speaker 1: And his last film before Ghost Dog was four or 316 00:17:31,240 --> 00:17:33,879 Speaker 1: five years earlier, dead Man, which I've talked about before, 317 00:17:34,160 --> 00:17:36,360 Speaker 1: starring Johnny Depp, one of his best, one of my favorites, 318 00:17:37,000 --> 00:17:38,720 Speaker 1: and so when this came out, just like dead Man 319 00:17:38,760 --> 00:17:42,080 Speaker 1: before it, I was greatly anticipating it. The title was 320 00:17:42,080 --> 00:17:44,679 Speaker 1: provocative but also strange, and the whole premise was weird, 321 00:17:44,760 --> 00:17:48,520 Speaker 1: like wait, like he's a hit man, but he has 322 00:17:48,560 --> 00:17:52,120 Speaker 1: like pigeons on a roof. He adheres to this old 323 00:17:52,160 --> 00:17:54,920 Speaker 1: code of the samurai like it was fusing Kerrosawa with 324 00:17:55,000 --> 00:17:57,000 Speaker 1: like eighties era on New York crime stuff, and it 325 00:17:57,080 --> 00:18:01,800 Speaker 1: was just so unlike jarmish in a way. But looking back, 326 00:18:01,880 --> 00:18:03,879 Speaker 1: it's really no odder than Dead Man that you know. 327 00:18:03,920 --> 00:18:05,879 Speaker 1: That one was scored by Neil Young, this one scored 328 00:18:05,880 --> 00:18:09,359 Speaker 1: by Rizza. They're both stories that seem more expansive than 329 00:18:09,440 --> 00:18:12,080 Speaker 1: things he tackled before. But it was just an exciting 330 00:18:12,119 --> 00:18:15,919 Speaker 1: moment in my sort of my film going life. It 331 00:18:15,960 --> 00:18:20,159 Speaker 1: was a I remember that that film is totally a 332 00:18:20,200 --> 00:18:23,879 Speaker 1: great off the beaten path, just wild card kind of 333 00:18:25,480 --> 00:18:29,639 Speaker 1: crime movie. So thanks so much Chris for emailing and 334 00:18:29,720 --> 00:18:32,119 Speaker 1: reminding me all about that underrated mafia movie. And I 335 00:18:32,160 --> 00:18:34,040 Speaker 1: didn't get a lot of input on that. So again 336 00:18:34,080 --> 00:18:38,040 Speaker 1: I'm asking you, if you've got some recommendations for underrated 337 00:18:38,200 --> 00:18:42,720 Speaker 1: mafia or organized crime films, send them my way, or 338 00:18:42,760 --> 00:18:44,840 Speaker 1: perhaps you want to get really into the weeds here. 339 00:18:45,200 --> 00:18:47,600 Speaker 1: Thinking about what I was talking about earlier with crime 340 00:18:47,640 --> 00:18:50,840 Speaker 1: films and how they helped define decades and years and 341 00:18:50,880 --> 00:18:53,479 Speaker 1: eras and moments over the last one hundred years. What 342 00:18:53,560 --> 00:18:57,399 Speaker 1: crime film do you think best explains or represents in 343 00:18:57,520 --> 00:19:00,399 Speaker 1: moments in time, a moment in history. Hit me up 344 00:19:00,440 --> 00:19:02,000 Speaker 1: and let me know you know how to do that. 345 00:19:02,119 --> 00:19:05,080 Speaker 1: Six one seven nine oh six sixty six three eight. 346 00:19:05,400 --> 00:19:09,360 Speaker 1: You can email Disgrace Lampod at gmail dot com. Any 347 00:19:09,440 --> 00:19:12,800 Speaker 1: dms on Instagram or Facebook or whatever at Disgrace Lampod 348 00:19:12,840 --> 00:19:15,240 Speaker 1: will get to me as well. And while you're sending 349 00:19:15,280 --> 00:19:17,480 Speaker 1: me those RECs those messages, I'm going to take a 350 00:19:17,560 --> 00:19:19,760 Speaker 1: quick break, but I'll be back in a flash with 351 00:19:19,840 --> 00:19:46,960 Speaker 1: some recommendations for your eyes and your ears. Stand by, 352 00:19:49,680 --> 00:19:52,000 Speaker 1: all right, everybody, Welcome back to the rep party. Is 353 00:19:52,040 --> 00:19:54,840 Speaker 1: Zeth Lundy here once again talking about what I've been watching, 354 00:19:55,240 --> 00:19:58,919 Speaker 1: listening to reading all that stuff. First of all, I 355 00:19:59,000 --> 00:20:02,160 Speaker 1: have to address this as a manor and a lifelong 356 00:20:02,240 --> 00:20:05,640 Speaker 1: Stephen King fan, the great uncle Steve. There's this new 357 00:20:05,680 --> 00:20:09,680 Speaker 1: show on HBO called it Welcome to Dary, and it's 358 00:20:09,720 --> 00:20:12,600 Speaker 1: like a prequel to the IT books, the films, the 359 00:20:12,600 --> 00:20:16,160 Speaker 1: whole IT universe, I guess, made by the same director 360 00:20:16,400 --> 00:20:18,560 Speaker 1: as those recent IT movies, and I think a bunch 361 00:20:18,600 --> 00:20:20,800 Speaker 1: of the people from that production team are involved in 362 00:20:20,840 --> 00:20:24,400 Speaker 1: this as well. Got lots of great reviews coming out 363 00:20:24,400 --> 00:20:26,879 Speaker 1: the gate as far as I could tell, so it 364 00:20:27,000 --> 00:20:29,760 Speaker 1: was interested in this. And you know, I like the movies. Okay, 365 00:20:30,240 --> 00:20:31,919 Speaker 1: the first one I like a lot better than the 366 00:20:31,920 --> 00:20:35,760 Speaker 1: second one, that's for sure. But what I'm about to 367 00:20:35,760 --> 00:20:37,800 Speaker 1: say about this show, this kind of goes back to 368 00:20:37,840 --> 00:20:41,680 Speaker 1: a common gripe on how often adaptations of Stephen King 369 00:20:41,960 --> 00:20:45,479 Speaker 1: novels and stories suck. And I don't know what it 370 00:20:45,560 --> 00:20:50,000 Speaker 1: is about, if it's just the people who try to 371 00:20:50,040 --> 00:20:53,879 Speaker 1: make them or the fact that they're just unfilmable sometimes. 372 00:20:54,440 --> 00:20:57,480 Speaker 1: But real quick, the best ones, in my mind, the 373 00:20:57,520 --> 00:21:01,879 Speaker 1: best film adaptations of Stephen King source material are The 374 00:21:01,920 --> 00:21:06,520 Speaker 1: Shining stand by Me, Doctor Sleep, The Shawshank Redemption, and 375 00:21:06,720 --> 00:21:09,880 Speaker 1: the Outsider series that was on HBO. Those are my tops. 376 00:21:10,200 --> 00:21:13,159 Speaker 1: I don't like Carrie at all. I'm sorry there I 377 00:21:13,200 --> 00:21:15,920 Speaker 1: said it. I find it very boring. Honestly, it feels 378 00:21:16,000 --> 00:21:19,640 Speaker 1: dated and melodramatic in the worst way. Here's the thing, 379 00:21:20,040 --> 00:21:22,320 Speaker 1: there's something about Stephen King books that's hard to translate 380 00:21:22,320 --> 00:21:25,320 Speaker 1: to the screen, like an evil entity that manifests itself 381 00:21:25,359 --> 00:21:28,560 Speaker 1: as a killer clown. It just works better on the 382 00:21:28,600 --> 00:21:30,640 Speaker 1: page and in your head than it does laid out 383 00:21:30,640 --> 00:21:33,879 Speaker 1: for you on screen. I think that's my problem ultimately 384 00:21:34,000 --> 00:21:37,439 Speaker 1: with it as a movie. But back to this Welcome 385 00:21:37,480 --> 00:21:40,760 Speaker 1: to Dairy series. In this very first scene, this mom 386 00:21:40,880 --> 00:21:43,439 Speaker 1: in a car gives birth to this two headed mutant 387 00:21:43,440 --> 00:21:48,120 Speaker 1: creature with wings who comes out flying around and killing people. Dude, 388 00:21:48,119 --> 00:21:50,720 Speaker 1: from the jump, I was just like, I'm out. It 389 00:21:50,800 --> 00:21:54,200 Speaker 1: was so ridiculous, and honestly, it didn't get any better. 390 00:21:55,520 --> 00:21:57,520 Speaker 1: I watched it with a room full of Stephen King fans. 391 00:21:57,840 --> 00:22:00,159 Speaker 1: Everyone was pumped, but everyone felt the same way, and 392 00:22:00,200 --> 00:22:02,840 Speaker 1: none of us have gone back and watched episode two. 393 00:22:02,920 --> 00:22:06,080 Speaker 1: I just don't know why this exists. I don't know, like, 394 00:22:06,119 --> 00:22:08,720 Speaker 1: who is this for? Why do we need to be explained? 395 00:22:09,240 --> 00:22:12,480 Speaker 1: Why evil exists? You know what I mean? Like, isn't 396 00:22:12,480 --> 00:22:14,720 Speaker 1: that just the whole point of it? It's like no 397 00:22:14,800 --> 00:22:17,639 Speaker 1: Country for old men or Nebraska. There's just an evil 398 00:22:17,680 --> 00:22:20,040 Speaker 1: in the world, all right. I don't know. Let me 399 00:22:20,080 --> 00:22:21,800 Speaker 1: know if you disagree with me, if I'm misreading this, 400 00:22:22,280 --> 00:22:24,479 Speaker 1: but I got to say this missed the mark from 401 00:22:24,520 --> 00:22:27,240 Speaker 1: me quite quite heavily. All right, just had to get 402 00:22:27,240 --> 00:22:29,600 Speaker 1: that off my chest. I also watched or rewatch for 403 00:22:29,640 --> 00:22:31,760 Speaker 1: the first time in a long time over the weekend 404 00:22:32,359 --> 00:22:35,040 Speaker 1: a couple of movies. First of all, I watched Rachel 405 00:22:35,040 --> 00:22:38,280 Speaker 1: Getting Married, which is Jonathan Demi's two thousand and eight 406 00:22:38,320 --> 00:22:41,199 Speaker 1: films starring in Hathaway as a girl who gets out 407 00:22:41,240 --> 00:22:44,320 Speaker 1: of rehab to attend her sister's wedding which is happening 408 00:22:44,359 --> 00:22:47,159 Speaker 1: at their father's house. And right off the bat, the 409 00:22:47,200 --> 00:22:50,040 Speaker 1: way that the story unfolds, you know that there's something 410 00:22:50,160 --> 00:22:54,679 Speaker 1: in in Hathaway's character's history. There's this tragedy that she 411 00:22:54,840 --> 00:22:58,240 Speaker 1: was responsible for. It's this big elephant in the room 412 00:22:58,560 --> 00:23:01,000 Speaker 1: that's casting a shadow on everything, thing on what's supposed 413 00:23:01,040 --> 00:23:06,480 Speaker 1: to be a really happy, joyous occasion. And this movie, man, 414 00:23:06,520 --> 00:23:11,800 Speaker 1: it really straddles the line between joy and tragedy, so definitely. 415 00:23:12,000 --> 00:23:15,000 Speaker 1: And a big part of this is the father who's 416 00:23:15,000 --> 00:23:17,720 Speaker 1: played by Bill Irwin, who, if you know Bill Irwin, 417 00:23:17,760 --> 00:23:20,479 Speaker 1: I remember him first from my childhood as like this 418 00:23:20,640 --> 00:23:24,800 Speaker 1: vaudeville esque clown work that he was doing there for 419 00:23:24,800 --> 00:23:27,400 Speaker 1: a while. But he's like the secret weapon of this film. 420 00:23:27,440 --> 00:23:30,639 Speaker 1: He's essentially trying to keep his two daughters happy, the 421 00:23:30,680 --> 00:23:32,880 Speaker 1: one who's getting married and the one who has lots 422 00:23:32,920 --> 00:23:34,679 Speaker 1: of demons and is trying to make everything about her. 423 00:23:34,720 --> 00:23:38,440 Speaker 1: And as a dad myself, Bill Irwin is just delivering 424 00:23:38,560 --> 00:23:43,320 Speaker 1: killer stuff here as the mediator in the middle. It's great. 425 00:23:44,000 --> 00:23:47,040 Speaker 1: What's so notable about this film though, is well, first 426 00:23:47,040 --> 00:23:49,840 Speaker 1: of all, it was shot in this natural fly in 427 00:23:49,880 --> 00:23:52,840 Speaker 1: the wall documentary style. I think it was shot on 428 00:23:53,359 --> 00:23:55,959 Speaker 1: It looks like it was shot on video or digital 429 00:23:56,040 --> 00:23:57,840 Speaker 1: or whatever, so you feel like you're like in the 430 00:23:57,920 --> 00:24:00,800 Speaker 1: room with everyone, but more so. And the reason I 431 00:24:00,960 --> 00:24:03,359 Speaker 1: happened to rewatch this this weekend because Jake and I 432 00:24:03,400 --> 00:24:05,800 Speaker 1: were talking about this movie. He had just watched it, 433 00:24:05,840 --> 00:24:07,800 Speaker 1: I think for the first time recently, or maybe he 434 00:24:07,960 --> 00:24:10,359 Speaker 1: rewatched it for the first time in a long time, 435 00:24:10,840 --> 00:24:15,359 Speaker 1: but he mentioned to me the musical aspect of this movie. 436 00:24:15,160 --> 00:24:20,119 Speaker 1: The inner circle of this couple is largely musicians, and 437 00:24:20,160 --> 00:24:23,399 Speaker 1: so the idea is that the score of this film 438 00:24:23,880 --> 00:24:27,760 Speaker 1: is literally being composed, you know, improvised by musicians who 439 00:24:27,760 --> 00:24:31,359 Speaker 1: are on set. Oftentimes they're off screen in the next 440 00:24:31,480 --> 00:24:33,760 Speaker 1: room or in the yard, and like the window happens 441 00:24:33,760 --> 00:24:36,760 Speaker 1: to be open, so you're sort of getting this, You're 442 00:24:36,840 --> 00:24:41,440 Speaker 1: hearing this music come in and sometimes it's sometimes it's 443 00:24:41,760 --> 00:24:43,800 Speaker 1: it's a little dark and tense, and other times it's 444 00:24:43,880 --> 00:24:48,960 Speaker 1: very joyful and it adds shading to whatever is happening 445 00:24:49,200 --> 00:24:52,600 Speaker 1: any any given scene in a really fresh and exciting way. 446 00:24:53,040 --> 00:24:55,679 Speaker 1: It's just really unlike any other film and how the 447 00:24:55,800 --> 00:24:58,480 Speaker 1: music is used, and it's such a part of the 448 00:24:58,520 --> 00:25:00,520 Speaker 1: movie's DNA. And you know when a Lars part, that's 449 00:25:00,560 --> 00:25:03,280 Speaker 1: Jonathan Demi. He's such a he was such a music nut, 450 00:25:03,359 --> 00:25:06,080 Speaker 1: you know. Of course he did the great stop making 451 00:25:06,160 --> 00:25:10,280 Speaker 1: Sense concert film by talking heads. His movies have always 452 00:25:10,280 --> 00:25:14,000 Speaker 1: had you know, his his his comedy Something Else from 453 00:25:14,040 --> 00:25:18,119 Speaker 1: the eighties has a legendary soundtrack. He's just he's just 454 00:25:18,160 --> 00:25:20,439 Speaker 1: tuned in that way. And this also, of course has 455 00:25:20,440 --> 00:25:23,239 Speaker 1: a great appearance by Robin Hitchcock, who you might know 456 00:25:23,359 --> 00:25:26,560 Speaker 1: from Jonathan Demi's movie Storefront Hitchcock, that performance film that 457 00:25:26,920 --> 00:25:29,920 Speaker 1: Robin Hitchcock was in. Anyways, highly recommend this if you've 458 00:25:29,960 --> 00:25:33,400 Speaker 1: not seen it. Everyone's terrific in it. Tuned Date from 459 00:25:34,080 --> 00:25:36,600 Speaker 1: TV on the radio plays the groom in the movie 460 00:25:36,600 --> 00:25:40,280 Speaker 1: as well. I think that was his first major performance 461 00:25:40,320 --> 00:25:42,760 Speaker 1: in a film or show, so I highly recommend that 462 00:25:42,800 --> 00:25:45,600 Speaker 1: it's a great family drama, but it's also great for 463 00:25:45,680 --> 00:25:49,719 Speaker 1: the musical angle of it all. I also rewatched, probably 464 00:25:49,760 --> 00:25:52,280 Speaker 1: because I've been listening to all this underworld music while 465 00:25:52,320 --> 00:25:56,160 Speaker 1: I've been writing lately. It inspired me to rewatch Trainspotting 466 00:25:56,640 --> 00:25:59,679 Speaker 1: for the first time in Forever and again here with 467 00:25:59,720 --> 00:26:03,679 Speaker 1: the musical angle. My big takeaway from this movie was, 468 00:26:04,200 --> 00:26:06,040 Speaker 1: and this is my hot take here is I don't 469 00:26:06,080 --> 00:26:10,119 Speaker 1: think there's another movie out there that uses its soundtrack, 470 00:26:10,359 --> 00:26:16,479 Speaker 1: that uses its needle drops so well. Every song is 471 00:26:16,640 --> 00:26:20,320 Speaker 1: integral to the narrative. Every song is exactly where it 472 00:26:20,359 --> 00:26:24,560 Speaker 1: should be. From Iggy Pop's Lust for Life that opens 473 00:26:24,560 --> 00:26:28,680 Speaker 1: the movie so breathlessly to Lou Reed's Perfect Day Singing 474 00:26:28,760 --> 00:26:32,600 Speaker 1: by Blur the cover of Blondie's Atomic by Sleeper, these 475 00:26:32,640 --> 00:26:35,760 Speaker 1: songs are not only kinetic and move the action along, 476 00:26:36,560 --> 00:26:40,119 Speaker 1: but they are thematically integrated into the story. And I 477 00:26:40,240 --> 00:26:44,400 Speaker 1: just cannot imagine any other songs being used in any 478 00:26:44,400 --> 00:26:48,320 Speaker 1: of these scenes. And again, it's just so integral to 479 00:26:49,000 --> 00:26:52,720 Speaker 1: the narrative of the film in a way that you know, 480 00:26:52,760 --> 00:26:55,199 Speaker 1: a lot of times you get these needle drops for 481 00:26:55,280 --> 00:27:00,439 Speaker 1: a vibe or whatever, or to elicit a certain reaction. 482 00:27:00,560 --> 00:27:04,320 Speaker 1: But this is this is like next level programming of 483 00:27:04,480 --> 00:27:07,480 Speaker 1: music into your narrative. So I know a lot of 484 00:27:07,520 --> 00:27:09,800 Speaker 1: you have probably seen Transponding before. This is, of course, 485 00:27:09,880 --> 00:27:14,159 Speaker 1: the nineteen ninety six film by Danny Boyle based on 486 00:27:14,320 --> 00:27:19,040 Speaker 1: the book by Irvin Welsh, starring Ewan McGregor, Ewan Bremers In. 487 00:27:19,119 --> 00:27:24,480 Speaker 1: It's Johnny Lee Miller, Kevin McKidd, Robert Carlyle, Kelly McDonald man. 488 00:27:26,320 --> 00:27:31,399 Speaker 1: Robert Carlyle plays this total psychopath in this movie. I mean, 489 00:27:31,440 --> 00:27:35,400 Speaker 1: they're all psychodict in their own ways, but Robert Carlyle 490 00:27:35,480 --> 00:27:39,480 Speaker 1: plays this dude who you can't understand anything he's saying. 491 00:27:39,920 --> 00:27:44,399 Speaker 1: He's just he's so transgressive. On the one hand, he's hilarious. 492 00:27:44,400 --> 00:27:47,560 Speaker 1: On the other hand, he is so fucking scary because 493 00:27:47,960 --> 00:27:49,960 Speaker 1: you know, at any moment he's like a taking time bomb. 494 00:27:50,040 --> 00:27:51,920 Speaker 1: He can just go off. If you haven't seen this, 495 00:27:52,040 --> 00:27:54,240 Speaker 1: or you haven't seen it in a while, Transponding is 496 00:27:54,280 --> 00:27:56,640 Speaker 1: so great. It's right up our alley because it's it's 497 00:27:56,640 --> 00:27:59,440 Speaker 1: got the transgressive stuff going on, it's got the musical thing. 498 00:27:59,720 --> 00:28:03,760 Speaker 1: It's just incredible filmmaking. All right. Speaking of music, I've 499 00:28:03,800 --> 00:28:07,320 Speaker 1: also been listening to the Rolling Stones album goats Head 500 00:28:07,359 --> 00:28:10,440 Speaker 1: Soup and listen, guys, fuck the haters, fuck the people 501 00:28:10,440 --> 00:28:13,600 Speaker 1: who tell you this is an inferior effort. This, of course, 502 00:28:13,680 --> 00:28:16,640 Speaker 1: is the follow up to Exile on Main Street, which 503 00:28:16,680 --> 00:28:19,000 Speaker 1: is often classified as one of the greatest records of 504 00:28:19,000 --> 00:28:21,880 Speaker 1: all time. This came out in nineteen seventy three. It's 505 00:28:21,920 --> 00:28:24,280 Speaker 1: the album right before It's only rock and Roll, which 506 00:28:24,359 --> 00:28:27,800 Speaker 1: I do think is inferior. Ghatshead Soup is right in 507 00:28:27,960 --> 00:28:31,960 Speaker 1: prime Mick Taylor era Stones. It's got that warm Jimmy 508 00:28:31,960 --> 00:28:35,680 Speaker 1: Miller production sound, the songs on here, Dancing with Mister 509 00:28:35,800 --> 00:28:40,000 Speaker 1: d Coming Down Again, Winter Heartbreaker, Star Star. Of course, 510 00:28:40,040 --> 00:28:42,040 Speaker 1: it's got Angie, one of their greatest ballads, in My 511 00:28:42,040 --> 00:28:44,120 Speaker 1: Wife's Name, So I'm partial of that one, even if 512 00:28:44,160 --> 00:28:47,120 Speaker 1: the song itself is melancholy. We're told time and time 513 00:28:47,120 --> 00:28:50,320 Speaker 1: again by gatekeepers, you know what is good and what sucks. 514 00:28:50,360 --> 00:28:54,800 Speaker 1: You know this is great, This period is the golden period, 515 00:28:55,080 --> 00:28:57,000 Speaker 1: and this stuff is less or so. And there's a 516 00:28:57,080 --> 00:28:59,920 Speaker 1: narrative out there that has always put this record down 517 00:29:00,040 --> 00:29:03,160 Speaker 1: that it's the hangover, it's the come down from Exile 518 00:29:03,280 --> 00:29:07,760 Speaker 1: is so is such an exceptional record that goats Heads 519 00:29:07,760 --> 00:29:11,240 Speaker 1: Suit pales in comparison, and that's that's just you're not 520 00:29:11,240 --> 00:29:13,320 Speaker 1: giving goats Head Soup a fair shake. There. You know, 521 00:29:13,880 --> 00:29:16,400 Speaker 1: before you know it, you're believing what people are saying 522 00:29:16,720 --> 00:29:19,160 Speaker 1: before you actually, you know, use your own damn ears 523 00:29:19,160 --> 00:29:21,440 Speaker 1: and listen for yourself and make your own opinions about things. 524 00:29:21,880 --> 00:29:25,040 Speaker 1: Of course, Exile is killer, but Goatshead Soup Man is 525 00:29:25,040 --> 00:29:27,880 Speaker 1: a banger of a rock record. It's got ups, got downs, 526 00:29:28,040 --> 00:29:31,200 Speaker 1: it's got sleeves and slime and also deep emotion, and 527 00:29:31,240 --> 00:29:34,280 Speaker 1: it just sounds incredible. So if you've neglected this one, 528 00:29:34,480 --> 00:29:37,640 Speaker 1: go on, break it out. Doesn't matter what anybody else says. 529 00:29:37,720 --> 00:29:40,200 Speaker 1: Your neighbors like I don't want what doesn't matter, Break 530 00:29:40,240 --> 00:29:43,200 Speaker 1: it out, put it on, get down to goats Head Soup. 531 00:29:43,400 --> 00:29:45,880 Speaker 1: Let me know what you think if you agree. All right, 532 00:29:46,080 --> 00:29:48,240 Speaker 1: And while you're breaking out your copy of goats Head 533 00:29:48,280 --> 00:29:51,320 Speaker 1: Soup and firing up that first track, dance with mister 534 00:29:51,400 --> 00:29:53,800 Speaker 1: d I'm going to take one more quick break, but 535 00:29:53,840 --> 00:30:09,480 Speaker 1: I'll be right back with some final thoughts. Oh keep dope, 536 00:30:09,480 --> 00:30:11,720 Speaker 1: my beautiful people of Hollywood Land. You were looking great, 537 00:30:11,720 --> 00:30:13,880 Speaker 1: you're sounding great. I for one am super stoked that 538 00:30:13,880 --> 00:30:16,680 Speaker 1: you're here. And whether or not, you're getting involved, reaching out, 539 00:30:16,760 --> 00:30:19,800 Speaker 1: being part of the conversation. Just know that I appreciate 540 00:30:20,000 --> 00:30:22,720 Speaker 1: you every single one. The other week I may have 541 00:30:22,800 --> 00:30:25,200 Speaker 1: mentioned something here. I just got to come clean about this, 542 00:30:25,200 --> 00:30:27,160 Speaker 1: while on the other week I may have mentioned something 543 00:30:27,280 --> 00:30:29,920 Speaker 1: here at the end of the show about some big news, 544 00:30:30,000 --> 00:30:34,160 Speaker 1: some happenings happening over and the Disgraceland all access membership world, 545 00:30:34,480 --> 00:30:41,480 Speaker 1: specifically on Patreon, and then Crickets. Long story short, We've 546 00:30:41,480 --> 00:30:44,280 Speaker 1: got something very exciting coming down the pike. It was 547 00:30:44,280 --> 00:30:46,960 Speaker 1: supposed to have already arrived. But like all good things, 548 00:30:47,600 --> 00:30:49,360 Speaker 1: they come to those who wait, and also, like all 549 00:30:49,400 --> 00:30:52,480 Speaker 1: good things, they take time, and this is taking time, 550 00:30:53,040 --> 00:30:55,920 Speaker 1: and time has actually been good to us and helped 551 00:30:56,000 --> 00:31:00,840 Speaker 1: us sort of shape this bonus content into something truly 552 00:31:01,040 --> 00:31:03,880 Speaker 1: truly special. I really do believe that, in fact, there 553 00:31:03,880 --> 00:31:06,720 Speaker 1: are some things I touched on today in the Rap 554 00:31:06,760 --> 00:31:09,600 Speaker 1: Party that we're going to be exploring in more depth 555 00:31:09,880 --> 00:31:11,760 Speaker 1: with this new offering in a way that I think 556 00:31:11,800 --> 00:31:14,920 Speaker 1: you're gonna find very exciting. So I got to keep 557 00:31:14,960 --> 00:31:16,720 Speaker 1: it a little cryptic here because I kind of got 558 00:31:16,720 --> 00:31:20,360 Speaker 1: burned the last time I was more specific. But again, 559 00:31:20,680 --> 00:31:22,520 Speaker 1: this will be available to you if you're a member 560 00:31:22,560 --> 00:31:25,360 Speaker 1: of Disgraceland All Access on Patreon, So if you are not, 561 00:31:26,040 --> 00:31:28,960 Speaker 1: just head over to disgracelandpod dot com to learn how 562 00:31:28,960 --> 00:31:33,400 Speaker 1: to sign up today. And with that, let's recap, shall we? 563 00:31:33,760 --> 00:31:36,840 Speaker 1: Number one available right now in your Hollywood Land Feed. 564 00:31:36,880 --> 00:31:40,720 Speaker 1: Our episode on Humphrey Bogart, coming next week on Monday. 565 00:31:40,960 --> 00:31:44,920 Speaker 1: Our episode on Jodi Foster. Number three over in the 566 00:31:44,960 --> 00:31:48,800 Speaker 1: Disgraceland Feed, Our brand new episode on Phish, which gets 567 00:31:48,800 --> 00:31:52,240 Speaker 1: into the world of nitrous oxide dealers collectively known as 568 00:31:52,280 --> 00:31:55,760 Speaker 1: the Nitrous Mafia, as well as the band's improbable comeback 569 00:31:55,800 --> 00:31:58,800 Speaker 1: from near tragedy. And number four in honor of this 570 00:31:58,800 --> 00:32:01,200 Speaker 1: week's episode, me reading you the list of the top 571 00:32:01,200 --> 00:32:04,240 Speaker 1: grossing films from the year nineteen fifty seven, the year 572 00:32:04,400 --> 00:32:09,360 Speaker 1: Humphrey Bogart died at the age of fifty seven. Number 573 00:32:09,360 --> 00:32:13,240 Speaker 1: one The Bridge on the River Qui, directed by David Lean. 574 00:32:14,440 --> 00:32:21,320 Speaker 1: Number two Peyton Place, directed by Mark Robson. Number three, Sayonara, 575 00:32:21,840 --> 00:32:25,280 Speaker 1: directed by Joshua Logan direct Number eight, Number four Chris 576 00:32:25,760 --> 00:32:29,400 Speaker 1: Search for Paradise directed by Auto Land. Number nine directed 577 00:32:29,400 --> 00:32:33,760 Speaker 1: by Number five Yellow George I directed by Robert Stephenson, 578 00:32:33,920 --> 00:32:37,000 Speaker 1: by Charles You Gotta fight number six number Raintree County. 579 00:32:37,120 --> 00:32:42,680 Speaker 1: John was directed by Edwards Metric range number seven in 580 00:32:42,680 --> 00:32:47,880 Speaker 1: the sign direct quit talking and start mixing.